My recent work depicts hypothetical spatial scenarios or cultural event spaces, suggesting evidence of an uncertain or unspecified labour within the city. Incorporated elements suggest both the ‘found’ and the ‘made’; both evidence of nature and culture. The ‘found’ referring to recognisable and generally familiar things or entities, which exist in the world in various forms; for example, tree, boulder, ladder, book, (including specific texts), maps, drawings. The ‘made’ referring to objects that have not previously existed; they are invented sculptural forms. They exist only in the virtual realm, and hence it is questionable whether they can be referred to as ‘things’ or ‘entities’ in the philosophical sense, although they may be considered to be objects of thought or ‘intentional objects’. The textures applied to individually modelled and constructed objects/elements in the image result from photographs of surfaces that I have taken on my travels. Some of these surfaces originate in particular cultures, whilst others are more generic. Rusty steel is pretty much the same wherever you find it. In a number of works the spaces depicted may be entered and traversed. The eye/camera could at any time pan into another part of that world, which is less or more habitable. Certain human actions or work events may have taken place or are about to take place. In being uninhabited, unoccupied, each work remains definitively incomplete. The viewer may, in this imaginary scenario, oscillate between participating and watching, moving in and out of being the object and producing the subject. This is also the work of the city. The work is produced using Three Dimensional Modelling software. The images exist as photographic prints on canvas (48 x 72in or 36 x 48in) or alternatively Lambda or Giclée prints (usually 30 x 40in). The final size is determined by the exhibition context.